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Brenmar
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William�s mother first discovered her son�s compulsive tendencies when he painstakingly encrusted her basement floor with a fleet of meticulously organized army action-figures. Born William Joel Salas in Chicago during the mid 80s, Brenmar followed a path of torrid obsession from early on. Early phases of this neurosis emerged throughout his passions for skateboarding, break-dancing, and chess, until at age 14, things finally clicked when he stumbled upon a worn down 8-Bit Gemini sampler at a dusty suburban garage sale.
Stints as a pizza delivery boy, telemarketer, and assistant librarian helped pay for records, synthesizers and other gear that added to the foundation of William�s new musical passion. When he wasn�t working menial jobs, he burrowed a home in his basement where he spent hour upon hour practicing. A residing interest in hip-hop from his break-dancing days influenced his early work, before his eclectic, undefined style branched off into a sphere of its own. William�s two year-old brother gave him the name �Brenmar� and it stuck. Constructing tunes out of old dusty records, digital and analogue synthesizers, microphones, samplers and found sounds, Brenmar released two EPs in 2005� the solo effort, A 16-Bit Theatre, and a collaboration, Disaster for Breakfast, with singer/songwriter, Elissa P. In early 2006 he released a limited edition colored 7� which garnered great reviews and larger distribution. A limited EP. (A Husk of Hares) was shortly thereafter offered by the Terry Plumbing label. Having become a musician as comfortable onstage as he is in his studio, Brenmar utilizes a mix of big drums, found instruments, improvisation, noise and more in his live show. He�s performed with Dosh (Anticon), Styrofoam (Morr Music), Daniel Givens (Aesthetics), Casiotone For The Painfully Alone (Tomlab), Eliott Lipp (Hefty), Skeletons and The Girl-Faced Boys (Ghostly), and Our Brother The Native (FatCat) among others. |
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